Dahlia - Plate I - Reproduction Print

October 29, 2016  •  Leave a Comment

One of the things that I love most about working with analog mediums is the unlimited options that I have to serve my art buyers and collectors.  My first love is and will forever be handmade darkroom prints (e.g., classic silver gelatin fiber prints; the highly collectible pure platinum prints; and the artisan gumoil prints).  I have received so many requests for reproduction prints over the years that I finally started to offer them in addition to my classic fine art collectible prints.  But, I first had to apply the same level of rigor that I do with my classic analog fine art prints to ensure the level of quality met my criteria.   I created this exposure on October 26, 2016 in the early morning light.  

I share exclusive articles and information like this with my darkroom and large format photography newsletter subscribers.  

Autumn Dahlia - Plate I (Reproduction Print)Autumn Dahlia - Plate I (Reproduction Print)Subject: Dahlia Flower From My Personal Garden
Medium: Large Format Paper Negative
Lens: Vintage Rodenstock Monar Brass Lens from 19th Century
Camera: Chamonix Large Format Whole Plate View Camera

Digital Reproduction Fine Art Print: Using K3 archival pigment inks printed on Hahnemuhle fine art archival paper. Printed by Tim Layton upon request in sizes ranging from 6.5" x 8.5" to 17" x 22". Tim signs, numbers, and dates each limited edition print.
Edition: 25

Options: dry mount to archival mat board; hand made frame from reclaimed wood.

Email me to purchase and discuss options.


Behind the Scenes Photos
Darkroom Newsletter
Large Format Newsletter
I created this image of a Dahlia flower from my garden with my large format Chamonix Whole Plate camera using a paper negative.  For those of you not familiar with the whole plate format, it is 6.5" x 8.5" or 16.5cm x 21.5cm which provides a massive negative for either darkroom contact printing or scanning for digital reproduction pigment prints.  

The paper negative, in this case, helped me reach my creative vision because of the unique tonal range and how it handles the colors in this flower.

The next part of the puzzle was selecting the right lens that helped tell the story of this specific flower.  I elected to use my vintage Rodenstock Monar F3.5 lens because of its unique optical signature.  Wide open, this lens is sharp in the center and falls off to a beautiful softness.  The focus of this flower was in the center for me and this lens when combined with my choice of negative substrate made it come together.  

The center petals are tightly coupled in a pattern that represented a group of people that are all in unison.  The outer petals are supporting characters that are more mature and experienced.  It is a rare occasion in life when a large group of people come together for a single and clear purpose with a body of supporting people.  My portrait of this Dahlia represents this possibility.  

I developed the paper negative with a very dilute bath of Dektol for about 16 minutes by inspection.  This simply means that I watch the negative develop in an open tray in the darkroom and pull it from the developer when it is at a stage that meets my vision. From this point, a classic acid stop bath and fixer and archival wash is required to complete the development process.  I had to hang the negative for a few minutes to encourage the water to run off the negative before laying on a drying screen over night.  I created a total of 4 exposures and selected the one that supported the story of the Dahlia.  

Dahlia - Plate I - In the FieldDahlia - Plate I - In the FieldPhotographing the Dahlia outside with my Large Format Whole Plate Camera and Vintage Rodenstock Monar lens.

Darkroom Newsletter
Large Format Newsletter
In this photograph to the left, you see my camera setup outdoors on my work bench to create this exposure in natural light.  I used an articulating arm to steady the flower because there was a light wind.  I rated my paper negative at ISO 3, so the exposure is slow and susceptible to motion blur and a variety of other related and undesirable challenges.  You can view more of my behind the scenes photos and videos for this plate.  

Tomorrow, I am making the darkroom prints from the paper negative.  My plan is to first make a split grade fiber print and selenium tone it.  I may possibly explore making a pure platinum print as well, but I won't know until I complete the silver gelatin print first.  

I look forward to your comments and questions.  

Join thousands of photographers and fine art collectors from around the world and receive my exclusive Newsletter and never worry about missing a new article or update again. 

You can support my writing for only $2 per month or $24 per year.  I have been writing and sharing articles on all things darkroom photography and large format for nearly a decade.  Feel free to search my blog for topics of interest by entering your search phrase in the upper right corner.  I also send exclusive updates to my supporters.  

-Tim Layton 

Check out my darkroom and large format training materials (Video Workshops, Quick Reference Cards, eBooks, Guides)

Tim Layton
Darkroom & Large Format Photography
Video Workshops/eBooks/Guides: www.timlaytonfineart.com/workshops
© Tim Layton Sr. | All Rights Reserved

Comments

No comments posted.
Loading...

Get my Free Darkroom Newsletter and/or my Wildlife Photography Newsletter and never miss an update again.

 


Media & News Updates


 

Support This Blog

Subscription Options

 


Popular Articles

 

 

 

Subscribe
RSS
Archive